Geometric abstraction between lines and color
Geometric abstractions between lines and color
Eder’s latest abstract works take a fundamental look both at the potentials of color and sensory perception, and the limits of traditional painting.
The starting point is always the challenge of how to cope with an area. The emerging interplay allows contrasts between color and non-color, area and line, shape and shapelessness to develop into dynamicpicture arrangements, mostly in a square format.
In these works, the background is dominated mainly by contrasting black and gray stripes. On top of this, white lines emerge within shapely formations. These lines serve as a visual guide, an interplay between the colors of the foreground and the grayand black interplay of stripes in the background.
The layout of the complex, colorful geometric painting has been compacted through a long process of assessing and testing the colors and visual effects that arise from the juxtaposition of these narrow lines of color, ribbons, and stripes. Theeven distance separating each parallel line instills the painting with a sense of uniformity. Alternating stripes of thinly applied paint divide the image into horizontal and vertical sectors. Like a network or a grid structure, these stripes are what hold the systemtogether. In contrast to this, the diagonals break open the inner balance of the paintingstructure.
Vivid colors appear to expand, continuing on to the pale white of the walls. Fine, densely set lines of color overlap or transverse the gray and black stripecombinations,always at a right or an acute angle. In stark constrast, the colors develop theirown visual life.
Unlike other works in recent years, these newest paintings are no longer the result of awell thought-out process, planned down to the very last detail. Instead, the focus is nowon an intuitive process carried out directly on the canvas. This can sometimes be seen in small breaks or shifts in the lines, generating vibrations of color in the observer’s eye, orby densely painted lines that seem to set the paint in motion and cause a new color to emerge in the eye of the beholder.
Customary viewing habits dictate that we always approach a picture on the wall directly from the front. However, if we change our position and approach one of these images from an angle, the dense lines begin to vacillate vividly.
Contrasting colors alternate between the fore and background, merging with the adjacent line segments to create newcolor impressions, and instigating a feeling of constant motion. However, it is not the lines of paint themselves that move, but the human eye that is being stimulated into constant motion.
The observer is invited to delve into the interactions of space, geometry, texture, and color and to contemplate their own perceptions.